Chronotope(“time” and τόπος, “place”) - “a regular connection of space-time coordinates.” The term introduced by A.A. Ukhtomsky in the context of his physiological research, and then (at the initiative of M. M. Bakhtin) moved into the humanitarian sphere. “Ukhtomsky proceeded from the fact that heterochrony is a condition for possible harmony: linkage in time, speed, rhythms of action, and therefore in the timing of the implementation of individual elements, forms a functionally defined “center” from spatially separated groups.” Ukhtomsky refers to Einstein, mentioning the “fusion of space and time” in Minkowski space. However, he introduces this concept into the context of human perception: “from the point of view of the chronotope, there are no longer abstract points, but living and indelible events from existence.”
MM. Bakhtin also understood chronotope as “an essential interconnection of temporal and spatial relations.”
“The chronotope in literature has significant genre significance. It can be said directly that the genre and genre varieties are determined precisely by the chronotope, and in literature the leading principle in the chronotope is time. Chronotope as a formal and meaningful category determines (to a large extent) the image of a person in literature; this image is always essentially chronotopic. ... The development of the real historical chronotope in literature was complicated and discontinuous: they mastered certain specific aspects of the chronotope that were available in given historical conditions, and only certain forms of artistic reflection of the real chronotope were developed. These genre forms, productive at the beginning, were consolidated by tradition and in subsequent development continued to stubbornly exist even when they had completely lost their realistically productive and adequate meaning. Hence the existence in literature of phenomena that are deeply different in time, which extremely complicates the historical and literary process.”
Bakhtin M. M. Forms of time and chronotope in the novel
Thanks to Bakhtin's works, the term has become widespread in Russian and foreign literary criticism. Among historians, it was actively used by medievalist Aron Gurevich.
IN social psychology A chronotope is understood as a certain characteristic communicative situation that is repeated in a certain time and place. “We know the chronotope of a school lesson, where the forms of communication are set by the traditions of teaching, the chronotope of a hospital ward, where the dominant attitudes (an acute desire to be cured, hopes, doubts, homesickness) leave a specific imprint on the subject of communication, etc.”
Bakhtin defines the concept of chronotope as a significant interconnection of temporal and spatial relations, artistically mastered in literature. “In the literary and artistic chronotope there is a merging of spatial and temporal signs into a meaningful and concrete whole. Time here thickens, becomes denser, becomes artistically visible; space is intensified, drawn into the movement of time, the plot of history. Signs
times are revealed in space, and space is comprehended and measured by time.” Chronotope is a formal-content category of literature. At the same time, Bakhtin also mentions
a broader concept of “artistic chronotope”, which is
the intersection of time and space in a work of art and
expressing the continuity of time and space, the interpretation of time as
fourth dimension of space.
Bakhtin notes that the term “chronotope”, introduced and justified in theory
Einstein's relativity and widely used in mathematics
natural science, is transferred to literary criticism “almost like a metaphor (almost, but
not really)"
Bakhtin transfers the term “chronotope” from mathematical natural science to
literary criticism and even connects its “timespace” with general theory
Einstein's relativity. This remark seems to need
clarification. The term "chronotope" was actually used in the 20s. past
century in physics and could be used by analogy also in literary criticism.
But the very idea of the continuity of space and time, which is intended to denote
this term developed in aesthetics itself, much earlier than the theory
Einstein, who tied together physical time and physical space and
which made time the fourth dimension of space. Bakhtin himself mentions, in
in particular, “Laocoon” by G.E. Lessing, in which the principle was first revealed
chronotopic character of the artistic and literary image. Description static
spatial must be involved in the time series of depicted events
and the story-image itself. In Lessing's famous example, the beauty of Helen
is not described statically by Homer, but is shown through its effect on
Trojan elders, is revealed in their movements and actions. Thus,
the concept of chronotope gradually took shape in literary criticism itself, and not
was mechanically transferred into it from a completely different nature
scientific discipline.
Is it difficult to claim that the concept of chrontope applies to all types of art? IN
In the spirit of Bakhtin, all arts can be divided depending on their relationship to
time and space into temporal (music), spatial (painting,
sculpture) and space-time (literature, theater), depicting
spatial-sensory phenomena in their movement and formation. In case
temporary and spatial arts the concept of a chronotope that links together
time and space, if applicable, are to a very limited extent. Music
does not unfold in space, painting and sculpture are almost
momentary, because they reflect movement and change very restrainedly.
The concept of chronotope is largely metaphorical. If used in relation to
to music, painting, sculpture and similar forms of art, it
turns into a very vague metaphor.
Since the concept of chronotope is effectively applicable only in the case
space-time arts, it is not universal. With all
its significance, it turns out to be useful only in the case of arts that have
a plot unfolding both in time and space.
In contrast to the chronotope, the concept of artistic space, expressing
the relationship between the elements of a work and creating a special aesthetic
unity, universal. If artistic space is understood in
in a broad sense and is not limited to displaying the placement of objects in real
space, we can talk about artistic space not only painting
and sculpture, but also about the artistic space of literature, theater, music
The peculiarity of M. M. Bakhtin’s description of the categories of space and time,
the study of which in different models of the world later became one of the main
directions of research of secondary modeling semiotic systems,
is the introduction of the concept of “chronotope”. In his report, read in 1938
year, properties of the novel as a genre M. M. Bakhtin in to a greater extent brought out
“revolution in the hierarchy of times”, changes in the “temporal model of the world”,
orientation towards the unfinished present. Consideration here - according to
ideas discussed above - is both semiotic and
axiological, since “value-time categories” are studied,
determining the significance of one time in relation to another: value
the past in the epic is contrasted with the value of the present for the novel. IN
in terms of structural linguistics one could talk about change
correlations of times according to markedness (signature) - unmarkedness.
Recreating the medieval picture of space, Bakhtin came to the conclusion that
“This picture is characterized by a certain value-based emphasis on space:
spatial steps going from bottom to top strictly corresponded
value levels" . With this
the role of the vertical is associated (ibid.): “That concrete and visible world model,
which underlay the medieval imaginative thinking, was significantly
vertical, which is not visible
only in the system of images and metaphors, but, for example, also in the image of the path in
medieval travel accounts. P. A. Florensky came to similar conclusions,
who noted that “Christian art advanced the vertical and gave it
significant dominance over other coordinates<.„>Middle Ages
increases this stylistic feature Christian art and gives
vertical predominance, and this process is observed in the western
medieval fresco"<...>"the most important basis of stylistic
originality and artistic spirit of the century determines the choice of the dominant
coordinates"
This idea is confirmed by M. M. Bakhtin’s analysis of the chronotope
novel of the transition period to the Renaissance from the hierarchical vertical
medieval painting to the horizontal, where movement in
time from past to future.
The concept of "chronotope" is a rationalized terminological equivalent to
the concept of that “value structure”, the immanent presence of which is
characteristics of a work of art. Now it is possible with sufficient
assert with some confidence that pure “vertical” and pure “horizontal”,
unacceptable because of their monotony, Bakhtin opposed the “chronotope”,
combining both coordinates. Chrontop creates a special “volumetric” unity
Bakhtin's world, the unity of its value and time dimensions. And that's the point
not in the banal post-Einsteinian image of time as the fourth dimension
space; Bakhtin's chronotope in its value unity is built on
crossing two fundamentally various directions moral efforts
subject: directions to the “other” (horizontal, time-space, given
world) and direction to “I” (vertical, “ big time", the sphere of the "given").
This gives the work not just physical and not only semantic, but
artistic volume.
CHRONOTOP
(literally "time-space")
unity of spatial and temporal parameters aimed at expression def. (cultural, artist) sense. The term X. was first used in psychology by Ukhtomsky. It became widespread in literature and then in aesthetics thanks to the works of Bakhtin.
This means the birth of this concept and its rooting in the law. and aesthetic consciousness was inspired by natural scientific discoveries beginning 20 V. and fundamental changes in ideas about the picture of the world as a whole. In accordance with them, space and time are conceived as “interconnected coordinates of a single four-dimensional continuum, meaningfully dependent on the reality they describe. In essence, this interpretation continues the tradition of relationalism that began in antiquity (as opposed to substantial) understanding of space and time (Aristotle, St. Augustine, Leibniz and etc.) . Hegel also interpreted these categories as interconnected and mutually defining. The emphasis placed on the discoveries of Einstein, Minkowski and etc. not contain, the determinism of space and time, as well as their ambivalent relationship, are metaphorically reproduced in X. by Bakhtin. WITH etc. On the other hand, this term correlates with V.I. Vernadsky’s description of the noosphere, characterized by a single space-time associated with the spiritual dimension of life. It is fundamentally different from psychology. space and time, which have their own characteristics in perception. Here, as in Bakhtin’s X., we mean simultaneously spiritual and material reality, with man at the center.
Central to the understanding of X., according to Bakhtin, is axiological. the orientation of space-time unity, the function of which is in artist the work consists in expressing a personal position, meaning: “Entry into the sphere of meanings occurs only through gate X.” In other words, the meanings contained in a work can be objectified only through their spatio-temporal expression. Moreover, with their own X. (and the meanings they reveal) possessed by both the author, the work itself, and the reader who perceives it (listener, viewer). Thus, understanding a work, its sociocultural objectification is, according to Bakhtin, one of the manifestations of the dialogical nature of being.
X. is individual for each meaning, therefore hu-doge. work from this t.zr. has a multi-layer ("polyphonic") structure.
Each of its levels represents a reciprocal connection of spaces. and temporary parameters, based on the unity of discrete and continuous principles, which makes it possible to translate spaces and parameters into temporary forms and vice versa. The more such layers are revealed in a work (X.), especially since it is polysemantic, “much-meaningful.”
Each type of art is characterized by its own type of X., determined by its “matter”. In accordance with this, the arts are divided into: spatial, in chronotopes of which temporal qualities are expressed in space. forms; temporary, where space parameters are “shifted” to temporary coordinates; and spatiotemporal, in which X. of both types are present.
About chronotopic. structure artist works can be spoken with t.zr.department plot motive (e.g. X. threshold, road, life turning point and etc. in the poetics of Dostoevsky); in terms of its genre definition (on this basis, Bakhtin distinguishes the genres of adventure novel, adventure novel, biographer, knightly, etc.); in relation to the individual style of the author (carnival and mystery time in Dostoevsky and biogr. time in L. Tolstoy); in connection with the organization of the form of the work, since such eg, meaning-bearing categories like rhythm and symmetry are nothing more than a reciprocal connection between space and time, based on the unity of discrete and continuous principles.
X., expressing common features artist spatio-temporal organization in a given cultural system, testify to the spirit and direction of the value orientations dominant in it. In this case, space and time are thought of as abstractions, through which it is possible to construct a picture of a unified cosmos, a single and ordered Universe. For example, space-time thinking primitive people objective-sensual and timeless, since the consciousness of time is spatialized and at the same time sacralized and emotionally colored. Cultural X. Ancient East and antiquity is built by myth, in which time is cyclical, and space (Space) animated. Middle-century Christ consciousness has formed its own X, consisting of linear irreversible time and hierarchically structured, thoroughly symbolic space, the ideal expression of which is the microcosm of the temple. The Renaissance created X., which is in many ways relevant for modern times.
The opposition of man to the world as a subject-object made it possible to realize and measure its spaces and depth. At the same time, qualityless dismembered time appears. The emergence of unified temporal thinking and space alienated from humans, characteristic of the New Age, made these categories abstractions, which is recorded in Newtonian physics and Cartesian philosophy.
Modern culture with all the complexity and diversity of its social, national, mental and etc. relationships are characterized by many different X.; Among them, the most revealing is, perhaps, the one that expresses the image of compressed space and flowing ("lost") time, in which (as opposed to the consciousness of the ancients) there is practically no present.
In the context of his physiological research, and then (at the initiative of M. M. Bakhtin) moved into the humanitarian sphere. “Ukhtomsky proceeded from the fact that heterochrony is a condition for possible harmony: linkage in time, in speeds, in rhythms of action, and therefore in the timing of the implementation of individual elements, forms a functionally defined “center” from spatially separated groups.” Ukhtomsky refers to Einstein, mentioning the "adhesion of space and time" in Minkowski space. However, he introduces this concept into the context of human perception: “from the point of view of the chronotope, there are no longer abstract points, but living and indelible events from existence.”
MM. Bakhtin also understood chronotope as “an essential interconnection of temporal and spatial relations.”
“The chronotope in literature has significant genre significance. We can directly say that the genre and genre varieties are determined precisely by the chronotope, and in literature the leading principle in the chronotope is time. Chronotope as a formal and meaningful category determines (to a large extent) the image of a person in literature; this image is always essentially chronotopic. ... The development of the real historical chronotope in literature was complicated and discontinuous: they mastered certain specific aspects of the chronotope that were available in given historical conditions, and only certain forms of artistic reflection of the real chronotope were developed. These genre forms, productive at the beginning, were consolidated by tradition and in subsequent development continued to stubbornly exist even when they had completely lost their realistically productive and adequate meaning. Hence the existence in literature of phenomena that are deeply different in time, which extremely complicates the historical and literary process.”
Bakhtin M. M. Forms of time and chronotope in the novel
Thanks to Bakhtin's works, the term has become widespread in Russian and foreign literary criticism. Among historians, it was actively used by medievalist Aron Gurevich.
Notes
Literature
- M. M. Bakhtin Forms of time and chronotope in the novel. Essays on historical poetics // Bakhtin M.M. Questions of literature and aesthetics.: Sat. - M.: Artist. lit., 1975. - pp. 234-407.
- L. A. Gogotishvili. Chronotope // New philosophical encyclopedia. - M.: Mysl, 2000. - T. 4. - ISBN 5-244-00961-3
- Paul Smethurst. The postmodern chronotype: reading space and time in contemporary fiction. - Amsterdam: Rodopi B.V. - 2000
- Azarenko S. A. Social chronotope and methodology of modern social science // Sociems No. 13 - 2007
- Large psychological dictionary. Comp. Meshcheryakov B., Zinchenko V. Olma-press. 2004.
- Poetics of chronotope: Linguistic mechanisms and cognitive foundations: Proceedings of the international scientific conference / Ed. G. Berestneva. - Vilnius: Publishing House of the Institute of the Lithuanian Language, 2010. - 236 pp., 200 copies, ISBN 978-609-411-060-3
Links
Wikimedia Foundation. 2010.
See what “Chronotope” is in other dictionaries:
CHRONOTOP (“time-space”). In a narrow sense, an aesthetic category reflecting the ambivalent connection of temporal and spatial relations, artistically mastered and expressed with the help of appropriate visual arts in literature... ... Philosophical Encyclopedia
- (literally time space) unity of spatial and temporal parameters aimed at expressing def. (cultural, artistic) meaning. The term X. was first used in psychology by Ukhtomsky. Widespread in literature... Encyclopedia of Cultural Studies
CHRONOTOP- (from Greek chronos time + topos place; literally timespace). Space and time are the harshest determinants of human existence, even harsher than society. Overcoming space and time and mastering them is an existential... ... Great psychological encyclopedia
- (Greek chronos - time and topos - place), space-time coordinates in which the action of the work takes place. The term was proposed by M. M. Bakhtin in his work “Forms of time and chronotope in the novel” (1937–38) and is used in literary criticism... ... Literary encyclopedia
chronotope- (from the Greek chronos time and topos place) image (reflection) of time and space in a work of art in their unity, interconnection and mutual influence. The term was introduced by M.M. Bakhtin. X. reproduces the spatial-temporal picture of the world and ... Dictionary of literary terms
chronotope- chronot op, and... Russian spelling dictionary
chronotope- Unity of time and space in the text. Formally meaningful category time space (M.M. Bakhtin) ... Dictionary linguistic terms T.V. Foal
chronotope- Unity of time and space in the text. Formally meaningful category “time space” (M.M. Bakhtin) ... Methods of research and text analysis. Dictionary-reference book
chronotope- y, h. Category of space and time (in artistic, chronicle, etc. works) ... Ukrainian Tlumach Dictionary
A; m. [Greek chronos time and topos place] Book. Category of space and time (in fiction, chronicles, etc.). Biblical, medieval x... Encyclopedic Dictionary
Even more paradoxically, the image of the author in literature is experienced in works of the dramatic type. In principle, art world the play does not imply his direct presence. The author usually does not appear in the list of persons acting (as if independently). If the playwright allows himself to violate this traditional convention, for example, the same Blok in his “Balaganchik”, we will be dealing with a demonstrative violation of generic boundaries, the elimination of the ramp, a sabotage against the specifics of drama. Experiments of this kind were not successful and only confirmed the rule: the image of the author in a play is a negative quantity, significantly absent: it manifests itself until the work is completed and made public in the form of a text or performance. Its indirect, “preliminary” presence is manifested only in stage directions, prefaces, recommendations to the director, set designer and actors (Gogol in “The Government Inspector”).
Finally, a unique fusion of collective lyrical hero with the image of a depersonalized author, an antique choir appears - an organic component ancient Greek tragedy and comedy. Most often, of course, he was not a primitive mouthpiece for the author, but skillfully elevated his opinion to the rank of “popular opinion.” Modernized modifications of this technique were practiced in the dramaturgy of modern times (“Optimistic Tragedy” by Vs. Vishnevsky and “Irkutsk History” by N. Arbuzov). By the way, the silent masses in “Richard III” by W. Shakespeare and “Boris Godunov” by Pushkin are a paradoxically silent chorus, expressing the “voice of the people” as the “voice of God.” This is a formidable silence, rooted in the technique of “tragic silence”
The concept of "chronotope". Types of chronotope
Bakhtin. Forms of time and chronotope in the novel.
The chronotope in literature has a significant genre meaning.
We will call the essential interrelation of temporal and spatial relations, artistically mastered in literature chronotope(which literally means “time-space”)
Types of chronotopes:
Adventurous everyday chronotope.
It is characterized by adventurous time, which is made up of a number of short segments corresponding to individual adventures; inside each such adventure, time is organized externally - technically: it is important to have time to escape, to have time to catch up, to get ahead, to be or not to be just in at the moment in a certain place, to meet or not to meet, etc. Within a single adventure, days, nights, hours, even minutes and seconds count, as in any struggle and in any active external enterprise. These time periods are introduced and intersected by specific “suddenly” and “just in time”. Chance (All moments of endless adventurous time are controlled by one force - chance. After all, all this time, as we see, is made up of random simultaneities and random divergences. Adventurous “time of chance” is a specific time of intervention of irrational forces in human life, intervention of fate, gods, demons, magicians.
Biographical and autobiographical chronotope.
These ancient forms are based on new type biographical time and a new, specifically constructed image of a person going through his life path.
Types of autobiographies: The first type will be called conventionally the Platonic type. In Plato's scheme there is a moment of crisis and rebirth.
The second Greek type is rhetorical autobiography and biography.
This type is based on the “encomion” - a civil funeral and funeral speech, which replaced the ancient “patch” (“trenos”).
Rabelaisian chronotope.
The human body is depicted by Rabelais in several aspects. First of all, in the anatomical and physiological scientific aspect. Then in the buffoonish cynical aspect. Then in the aspect of fantastic grotesque analogy (man is a microcosm). And, finally, in the folklore aspect itself. These aspects are intertwined with each other and only rarely appear in their pure form.
Knight's chronotope.
In this wonderful world, feats are performed by which the heroes themselves are glorified and with which they glorify others (their overlord, their lady). The moment of feat sharply distinguishes the knightly adventure from the Greek one and brings it closer to an epic adventure. The moment of glory, glorification was also completely alien to the Greek novel and also brings the knightly novel closer to the epic. These features also determine the unique chronotope of this novel - a wonderful world in an adventurous time.
Idyllic chronotope.
In the special relationship of time to space in the idyll: organic attachment, increment of life and its events to place - to home country with all its corners, to the native mountains, native valley, native fields, river and forest, to home. Idyllic life and its events are inseparable from this specific spatial corner, where fathers and grandfathers lived, children and grandchildren will live. This spatial little world is limited and self-sufficient, not significantly connected with other places, with the rest of the world. Another feature of the idyll is its strict limitation to only the basic few realities of life. Love, birth, death, marriage, work, food and drink, ages - these are the basic realities of an idyllic life.
Functions of the chronotope:
· Defines artistic unity literary work in its relation to reality;
· Organizes the space of the work, leads readers into it;
· Can relate different space and time;
· Can build a chain of associations in the reader’s mind and, on this basis, connect works with ideas about the world and expand these ideas.
In addition, both time and space distinguish between the concrete and the abstract. If time is abstract, then space is abstract, and vice versa.
Types of private chronotopes according to Bakhtin:
· the chronotope of the road is based on the motive of a chance meeting. The appearance of this motif in the text can cause a plot. Open space.
· the chronotope of a private salon is a non-random meeting. Closed space.
· chronotope of the castle (it is not found in Russian literature). The dominance of the historical, tribal past. Limited space.
· the chronotope of a provincial town is eventless time, a closed, self-sufficient space, living its own life. Time is cyclical, but not sacred.
· chronotype of threshold (crisis consciousness, turning point). There is no biography as such, only moments.
It is impossible to separate the spatio-temporal characteristics of processes and events either in nature or in socio-spiritual life.
“Chronotope” (from the Greek chronos - time + topos - place), expressing the unity of the spatio-temporal dimension associated with the cultural and historical meaning of events and phenomena.
The concept of “chronotope” reflects the universality of space-time relations: it is applicable not only to material, but also to ideal processes.
The study of culture requires taking into account the unity of space-time dimension.
One of the first to use this concept was neurophysiologist A. Ukhtomsky: he introduced the concept of “chronotope” into psychology and neurophysiology, assessing it as a dominant of consciousness, a center and focus of excitation, prompting the body in a specific situation to take certain actions.
M. Bakhtin used the concept of “chronotope” in literary criticism and aesthetics in his work “Essays on Historical Poetics.” These were the first projections of the idea of the interconnection of spatial and temporal relations into the plane of humanitarian knowledge.
Bakhtin introduced the concept of chronotope - a specific unity of spatio-temporal characteristics for a specific situation. He accepts Kant's assessment of the significance of space and time as necessary forms of all knowledge, but understands them not as transcendental, but as a form of reality itself.
The phenomenon of sub-play with time, space-time perspectives - the so-called. historical inversion, i.e. a depiction in the past of what in fact can only be in the future; stretching or compressing time in dreams as a result of witchcraft. This is the peculiarity of human and artistic consciousness - in its internal time it has full rights. Therefore it is worth distinguishing
· awareness of time - must be objective, accurately reflect its real flow
· time of consciousness – not tied to to the outside world, admits the absence of a time vector.
Thus, Bakhtin proposed a non-classical vision of human cognition: in addition to subject-object relations, it includes a synthesis of cognitive, value (ethical and aesthetic), as well as spatio-temporal relations. The philosophy of science of the 21st century should be built on this basis.
Bakhtin developed the idea of a chronotope, which made it possible to create a unique ontology of the novel. “In the literary and artistic chronotope there is a merging of spatial and temporal signs into a meaningful and concrete whole. Time here thickens, becomes denser, becomes artistically visible, while space intensifies, is drawn into the movement of time, plot, history. Signs of time are revealed in space, and space is comprehended and measured by time. This intersection of rows and merging of signs characterizes the artistic chronotope.”
The introduction of the chronotope allowed M.M. Bakhtin to reconstruct the logic of the formation of the novel depending on the depth of inclusion of space-time in it, starting from the adventurous Greek novel with its extremely abstract indicators of space-time to the chronotope in the novels of F. Rabelais, in which very specifically “everything turns into everything.” MM. Bakhtin proved that it is the boundary of the genre that constitutes the boundary within which the chronotope of the novel as an object is formed, defining the exact genre boundaries of the chronotope in literature.
All this indicates that the space-time continuum is increasingly understood as an important principle, a condition for the ascension of any science - including social and humanitarian science - to the level of a conceptual-theoretical system. Therefore, it seems legitimate to raise the question of the possibility of its inclusion in the study of culture and to assume that the continuum exists in a hidden form in culture, and it is necessary to open it and clarify its nature.
A special topic to which so far undeservedly few works have been devoted is the introduction of the time factor into literary texts, clarifying his role, image and methods of presence. reversibility, changes in flow rate and many other properties that are not inherent in real physical time, but are significant in art and culture in general. So, M.M. Bakhtin connects consciousness and “all conceivable spatial and temporal relations” into a single center. Rethinking the categories of space and time in a humanitarian context, he introduced the concept of chronotope as a specific situation. Bakhtin left a kind of model for the analysis of temporal and spatial relations and ways of “introducing” them into literary and literary texts. Taking the term “chronotope” from the natural science texts of A.A. Ukhtomsky, Bakhtin did not limit himself to the naturalistic idea of the chronotope as a physical unity, the integrity of time and space, but filled it with humanistic, cultural, historical and value meanings. He strives to reveal the role of these forms in the process artistic knowledge, "artistic vision". Also justifying the need for a single term, Bakhtin explains that in the “artistic chronotope” there is an “intersection of rows and a merging of signs” - “time here thickens, becomes denser, becomes artistically visible; space intensifies, is drawn into the movement of time, movement, history. Signs times are revealed in space, and space is comprehended and measured by time."
In context historical poetics Bakhtin and the identification of the pictorial meaning of chronotopes, the phenomenon designated as a subjective play with time and space-time perspectives should not go unnoticed. This is a phenomenon specific to artistic, and generally humanitarian, reality - the transformation of time or chronotope under the influence of the “mighty will of the artist.” So close attention Bakhtin himself to the “subjective game” and the richness of the forms of time identified in this case force us to assume that behind the artistic technique there are also more fundamental properties and relationships. The “play with time” is most clearly manifested in the adventurous time of a chivalric romance, where time breaks up into a number of segments, is organized “abstractly and technically”, and appears at “break points (in the emerging gap)” of real time series, where the pattern is suddenly broken. Here hyperbolism - stretching or compression - of time, the influence of dreams, witchcraft on it, i.e., becomes possible. violation of elementary temporal (and spatial) relationships and perspectives.
Rich possibilities for epistemology are also fraught with Bakhtin’s text on time and space in the works of Goethe, who had “exceptional chronotopic vision and thinking,” although the ability to see time in space, in nature, was also noted by Bakhtin in O. de Balzac, J.J. Russo and W. Scott. He read Goethe's texts in a special way. In the first place he put his “ability to see time”, ideas about the visible form of time in space, the completeness of time as synchronism, the coexistence of times at one point in space, for example, thousand-year-old Rome - “the great chronotope of human history.” Following Goethe, he emphasized that the past itself must be creative, i.e. effective in the present; Bakhtin noted that Goethe “dispersed what lay nearby in space into different time stages”, revealed modernity at the same time as multitemporality - the remnants of the past and the beginnings of the future; thought about everyday life and national characteristics"sense of time".
In general, reflections on Bakhtin’s texts about the forms of time and space in artistic and humanitarian texts lead to the idea of the possibility of transforming the chronotope into a universal, fundamental category, which can become one of the fundamentally new foundations of epistemology, which has not yet been fully mastered and even avoided specific spatiotemporal characteristics of knowledge and cognitive activity.
from Greek chronos - time + topos - place; literally timespace). Space and time are the harshest determinants of human existence, even harsher than society. Overcoming space and time and mastering them is an existential task that humanity solves in its history, and man solves in his life. A person subjectivizes space and time, separates, unites them, transforms, exchanges and turns one into another. X. is a living syncretic dimension of space and time in which they are inseparable. X. consciousness is two-faced. This is as much the modernity of space as it is the spatiality of time. The mystery of combination, changes in scale, transformability of forms was realized long ago. A. A. Ukhtomsky gave it a name.
X. is a concept introduced by Ukhtomsky in the context of his physiological research, and then (at the initiative of M. M. Bakhtin) transferred to the humanitarian sphere. Ukhtomsky proceeded from the fact that heterochrony is a condition for possible harmony: linkage in time, speed, rhythms of action, and therefore in the timing of the implementation of individual elements, forms a functionally defined “center” from spatially separated groups. I remember t.zr. G. Minkowski, that space in isolation, like time in isolation, is only a “shadow of reality,” while real events proceed undividedly in space and time, in X. Both in the environment around us and inside our body, specific facts and dependencies are given us as orders and connections in space and time between events (Ukhtomsky). This was written in 1940, long before D. O. Hebb came up with the idea of cellular assemblies and their role in organizing behavior. In 1927, Ukhtomsky spoke approvingly of the work of N.A. Bernstein and characterized the methods of movement analysis he developed as “microscopy X”. This is not microscopy of motionless architectures in space, but microscopy of movement in fluidly changing architecture during its activity. Ukhtomsky predicted success Bernstein: world science that studies living movements and actions still relies on the methods and teachings he developed about the construction of movement.
X. conscious and unconscious life combines all 3 colors of time: past, present, future, unfolding in real and virtual space. According to Bakhtin, “in literary and artistic X. there is a fusion of spatial and temporal signs in a meaningful and concrete whole. Time here thickens, becomes denser, becomes artistically visible; space intensifies, is drawn into the movement of time of the plot of the story. Signs of time are revealed in space and space is comprehended, measured by time. This enumeration of series and merging of signs characterizes the artistic X. X. as a formal and meaningful category (to a large extent) and the image of a person in literature is essentially chronotopic.” For psychology this characteristic is no less important than for art. X. is impossible outside the semantic dimension. If time is the 4th dimension, then meaning is the 5th (or the first?!). Not only in literature, but also in real life, a person has states of “absolute temporary intensity”, the prototype of which could be. law of expansion of a number series (G. G. Shpet). In such states" less than a year lasts a century" (B. Pasternak). M. K. Mamardashvili came to the idea of a fixed point of intensity. He called it: Punctum Cartesianum, “absolute gap”, “momentary moment”, “eternal moment”, “world of monstrous actuality”. There are also other names: “points on the threshold”, “timeless gaping”, points of crises, turning points and catastrophes, when a moment in its meaning is equated to a “billion years”, i.e., it loses its temporal limitation (Bakhtin allows us to add such characteristics). X. another - the energy dimension. The most obvious example is a formed simultaneous image, devoid of time coordinates, which causes tension, forcing it to unfold into an action extended in time and space. The energy of the possible development of the image is accumulated during its formation. action is oriented towards chronos: peace is overcome in an explosive way and time is launched; step. The successive action again collapses into a spatial simultaneous image, in which the content takes on the form of a form, which allows for the play of forms, operating and manipulating them. This occurs on the scale of activity, action and movement. (N.A. Bernshtein, N.D. Gordeeva.)
Of course, the emergence of points of “absolute temporal intensity” is unpredictable, just as any event is unpredictable. In human life they arise when space, time, meaning and energy converge. The Japanese poet Basho wrote that beauty arises when space and time converge. I. Brodsky wrote: “And geography mixed with time is fate.” People say it more simply: you need to be in right time V in the right place. But you can find yourself at such a point and not notice it, miss a moment. It is no coincidence that M. Tsvetaeva exclaimed: “My soul is a trace of moments,” and not of my entire life. Not every moment, not every hour is the Hour of the Soul.
S. Dali in the painting “Persistence of Memory” gave his vision to X. and 20 years later interpreted it: “My flowing clock is not only a fantastic image of the world; processed cheeses contains the highest formula of space-time. This image was born suddenly, and, I believe, it was then that I wrested from the irrational one of its main secrets, one of its archetypes, for my soft clock defines life more accurately than any equation: space-time condenses, so that, when frozen, it spreads like Camembert, doomed to go rotten and cultivate champignons of spiritual impulses - sparks that launch the engine of the universe." A similar connection of spirit with engine is found in O. Mandelstam: "transcendental drive", "arc stretching", "charging of being". Aristotle's "eidetic energy" is also close. The meaning of spiritual energy in human life, it is more obvious than the emergence and nature of spiritual impulses that turn into the text of life or the text of great works of art, scientific discoveries, A. Bely wrote that “the foggy Eternity is reflected in the course of time only by rising above the flow of time.” if not to know, then at least to recognize (Bely’s terms) Eternity or to fetter time, that is, turn it into space, hold it with the help of thought (Mamardashvili). Taking such an observation position, looking at him from above, a person finds himself at the top of the light cone, he is visited by revelation, illumination, intuition, insight, satori (the Japanese equivalent of insight), etc. He has a new idea of the Universe, or rather, he creates a new Universe: the microcosm becomes the macrocosm.
There are countless similar descriptions in art and science. Psychology is passing them by for now. There is a deep analogy between numerous images of a fixed point of intensity, where space, time and meaning converge, merge, intersect (i.e., points X.), and modern hypotheses about the origin of the Universe. Their essence is that at a certain billionth of a second after Big Bang a conformal space-time interval was formed (Minkowski or X. Ukhtomsky interval). The interval preserved the light cone, which led to the birth of the Universe and its matter. Literally the same thing happens with lightning-fast insight into understanding, causing a rapid surge of spiritual energy, creating its own cone of light, giving birth to its own Universe. The latter can contain many worlds, which are realized, objectified, and expressed outwardly to varying degrees (see Semiosphere). Mastering them is a special job. “I am the creator of my worlds” (Mandelshtam). Such indistinguishability of poetic and cosmological metaphors should serve as an example for psychology and encourage it to more boldly turn to art and begin to overcome its excessive complex of objectivism, acquired in the era of its formation as a natural science. Ukhtomsky reasonably said that the subjective is no less objective than the so-called. objective. (V.P. Zinchenko.)